American Film Director, Producer and Screenwriter
Francis Ford Coppola
American Film Director, Producer and Screenwriter
You donÂ’t have to specialize - do everything that you love and then, at some time, the future will come together for you in some form.
You ought to love what you're doing because, especially in a movie, over time you really will start to hate it.
Your work parallels your life, but in the sense of a glass full of water where people look at it and say, 'Oh, the water's the same shape as the glass!'
You're in a profession in which absolutely everybody is telling you their opinion, which is different. That's one of the reasons George Lucas never directed again.
Well, yeah, because I feel that all films shouldn't be sequels. Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.
What the studios want now is "risk-free" films but with any sort of art you have to take risks. Not taking risks in art is like not having sex and then expecting there to be children.
When I do a novel, I don't really use the script, I use the book; when I did Apocalypse Now, I used Heart of Darkness. Novels usually have so much rich material.
When I was about 9, I had polio, and people were very frightened for their children, so you tended to be isolated. I was paralyzed for a while, so I watched television.
When I was about nine, I had polio, and people were very frightened for their children, so you tended to be isolated. I was paralyzed for a while, so I watched television.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was You're a Big Boy Now.
When I was sixteen or seventeen, I wanted to be a writer. I wanted to be a playwright. But everything I wrote, I thought, was weak. And I can remember falling asleep in tears because I had no talent the way I wanted to have.
When newspapers started to publish the box office scores of movies, I was horrified. Those results are totally fake because they never include the promotion budget.
When you lose your kid, it's the first thing you think of when you wake up in the morning for about seven or eight years. Then there's the first morning when that's not the first thing you think of. You get brave.
The book is inherently difficult to adapt to the screen, and we've never quite found the right combination of director and writer to do it justice until now.
We developed that script, David Peoples and I. We worked on it for months. The film was made based on that script we finished. Nobody wanted to make it. I'd even sent it to Clint Eastwood to act in it. I don't know whether he read it. Finally after two or three years of paying the options, I let it go and then Clint picked it up.
I've been failing for like, ten or eleven years. When it turns, it'll turn. Right now I'm just tryin' to squeeze through a very tight financial period, get the movie out, and put my things in order.
The easiest way to make sure a movie is successful is to make a traditional movie very well. If you make a slightly unusual movie or [don't] exactly follow the rules as everyone sees them, then you get in trouble or, like with Apocalypse, wait 20 years to hear that was really good.
We do things for good reasons that are bad.
I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it. But you look at the project and think, 'Gee, there are a lot of good directors who could do that.' I'd like to do something only I can do.
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
We had access to too much money, too much equipment, and little by little, we went insane.
Jack was a movie that everybody hated and I was constantly damned and ridiculed for. I must say I find Jack sweet and amusing. I don't dislike it as much as everyone, but that's obvious - I directed it. I know I should be ashamed of it but I'm not. I don't know why everybody hated it so much. I think it was because of the type of movie it was. It was considered that I had made Apocalypse Now and I'm like a Marty Scorcese type of director, and here I am making this dumb Disney film with Robin Williams. But I was always happy to do any type of film.
The Godfather changed my life, for better or worse. It definitely made me have an older man's film career when I was 29. So now I say, 'If I had my older career when I was young, as an older man, maybe I can have a young film-maker's career.'
We teach our boys to firebomb villages, but we won't let them write fuck on the side of their planes because it's obscene.
Listen, if there's one sure-fire rule that I have learned in this business, it's that I don't know anything about human nature.